영화에 나타난 한국전쟁기 미군과 민간인의 관계 -<작은 연못>, <웰컴 투 동막골>, <아름다운 시절>을 중심으로- = The Relationship Between the U.S. Military and an Civilian Population During the Korean War as Depicted in Korean Films -Focusing on Spring in my Hometown (1998), Welcome to Dongmakgol (2005), and A Little Pond (2010)-

다국어 초록 (Multilingual Abstract)

This paper examines the aspects of an otherized civilian population depicted in movies based on the Korean War from the viewpoint of the subject (in this case the U.S. military) and the other (Korean civilians). This paper starts by considering the awareness of Korean civilians that they were being treated as outsiders (the other) by U.S. soldiers during the Korean War. During this time, Korean civilians were often living as the other in the way that they were victims of U.S. bombings, exploited sexually, and made economically dependent on American charity. In the ethics of Immanuel Levinas, Conscience is the mind of devoting oneself to the other, as the subject is built by the other. Although the U.S. military did not intend to kill Korean civilians but to aid them, in the view of Levinas’s Conscience, they should be criticized for not being entirely devoted to help the Korean civilians. The U.S. military were standing in the place of the colonial subject, inflicting violence on Korean civilians by indiscriminate bombing, for instance. This paper will investigate how the relationship between the subject and the other appears in three Korean War films showing diverging aspects of the relationship between U.S. soldiers and Korean civilians. This paper notes that the image of the U.S. military differs in terms of its public and private relationship with Korean citizens, and this dual viewpoint is represented differently in the three films - ‘Spring in My Hometown’ (1998), ‘Welcome to Dongmakgol’ (2005), and ‘A Little Pond’ (2010). The U.S. military seems to be regarded in two very different ways by Korean citizens from these films. The first view is that the American armed forces in Korea were a companion while the second viewpoint regards them as perpetrators of violence and oppression. In ‘A Little Pond’, the U.S military came to Korea to help them as an ally at first, though finally they became a group guilty of indiscriminate violence and massacres to keep Korean civilians from crossing the tactical wartime border. This movie portrays U.S. troops as aggressors in the war and the Nogunri villagers as being otherized and victimized - unable to resist at all. In ‘Welcome to Dongmakgol’, Smith crashes into Dongmakgol and becomes friendly with the village people. In contrast, the larger U.S.-led military force is portrayed as ruthless invaders who attacked and threatened the villagers - even bombing the village on one occasion. In reaction to this aggression, Smith and some Korean deserters join the People’s Army to resist the U.S.-led air force bombings of Dongmakgol, revealing the duality of the subject and the other. In addition, in ‘Spring in My Town’, the U.S. military does something good for the Korean civilian population by giving out chocolate to children and providing civilians with delivery jobs. However, they commit acts of sexual violence, traffic women, abuse children for digging through the trash, and stigmatize Sungmin’s father for siphoning off military equipment by spraying them with red paint. So, at first the U.S. military helps Koreans financially, but becomes the devil incarnate; exercising omnipotent power by raping and committing acts of violence. It leads Changhee to fire at watermill and kill an American soldier. Here, the relationship between the U.S. military and Korean civilians is expressed as a personal and emotional relationship. The present study first considers the differing aspects in each of the three films-‘A Little Pond’, ‘Welcome to Dongmakgol’, and ‘Spring in My Hometown’. The U.S. soldiers captured on camera show the diverging perceptions of the U.S. military at the time - allies and companions to Korean civilians, but also perpetrators of violence and oppression. In conclusion, the relationship between the U.S. army and Korean civilians is another tragedy of the Korean War. It shows how the America-led forces initially came to Korea as an ally, but eventually committed indiscriminate slaughter in the name of military expediency-in so doing otherizing the Korean civilian population. This paper has significance in that it’s the first paper examining the relationship between the U.S. military and citizens of Korea during the Korean War as depicted in Korean films.

참고문헌 (Reference)

• 1 데리다, "환대에 대하여" 동문선, 2004
• 2 김권호, "한국전쟁영화의 발전과 특징-한국전쟁에서 배트남 전쟁까지-" 지방사와 지방문화 9 (2) : 77 ~ 108, 2006
• 3 서희경, "한국전쟁에서의 인권과 평화: 피난민 문제와 공중폭격 사례를 중심으로" 한국정치연구 21 (1) : 205 ~ 230, 2012
• 4 신영덕, "한국전쟁기 남북한 소설과 미군？중국군의 형상화 양상" 한중인문학연구 (10) : 1 ~ 26, 2003
• 5 최득진, "한국전쟁 중 미군에 의한 민간인 학살사건" 법전논총 (35), 2000
• 6 지명혁, "한국영화에서 나타난 한국전쟁의 양상과 시각의 변화" 영화교육연구 7, 2005
• 7 김연숙, "타자를 위한 책임으로 구현되는 레비나스의 양심" 윤리교육연구 (25) : 95 ~ 110, 2011
• 8 최진석, "타자 윤리학의 두 가지 길 ― 바흐친과 레비나스" 노어노문학 21 (3) : 173 ~ 195, 2009
• 9 레비나스, "존재와 다르게- 본질의 저편" 인간사랑, 2010
• 10 고동연, "전후 한국 영화에 등장하는 주한 미군의 이미지: ｢지옥화｣(1958)에서부터 ｢수취인불명｣(2001)까지" 미국사연구 30 : 147 ~ 175, 2009
• 11 남다은, "전쟁기억의 표상들" 황해문화 67, 2010
• 12 김권호, "전쟁 기억의 영화적 재현: 한국 전쟁기 지리산권을 다룬 영화들을 중심으로" 사회와역사(구 한국사회사학회논문집) (68) : 101 ~ 135, 2005
• 13 이상우, "작은 연못" 2010
• 14 박광현, "웰컴 투 동막골" 2005
• 15 강성률, "영화로 보는 우리 역사 ⑤ <웰컴 투 동막골 >과 한국전쟁:민족의 이상향과 과도한 민족주의의 함정" 내일을 여는 역사 (22), 2005
• 16 김태우, "영화 <작은 연못 >을 통해 본 한국전쟁 다시쓰기" 작가세계 (87), 2010
• 17 이광모, "아름다운 시절" 1998
• 18 "무비위크"
• 19 충북 발전연구원 편집부, "노근리와 영화 <작은 연못 >" 앞, 뒤 바라보다 No.4, 충북발전연구원, 2010
• 20 이만열, "노근리사건과 평화" 제1회 노근리국제학술대회자료집, 2007
• 21 이영민, "관객동원 기록 갱신하는 반한, 반미영화들(7):공산주의적 유토피아를 미군이 박살낸 것으로 묘사한 <웰컴 투 동막골 >" 한국논단 (210), 2007
• 22 "<작은 연못 > 제작 노트 다음"